Go Well Writer: David
Sunny Mungoshi (1949-2020)
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T |
he work WIN continues to do is commendable, thanks to
its committed membership and resilient coordinator, Beaven Tapureta, who,
together with the board members, continue to run a platform that provides a
necessary creative outlet for all of us.
This newsletter comes out just a few weeks after the death of a
literary icon, David Mungoshi, a generous mentor and ambassador of pan African
literature. It is thus fitting that many pages here celebrate his life. He was
an accomplished teacher, a fantastic writer, a supporter of the WIN initiative
and a mentor who was generous with his time, willing always to meet you half
way and challenging you to show your very best in every draft.
This year has been challenging, disrupting our plans and cancelling
all in person activities that often provide growth for writers. But WIN has
remained steadfast, utilizing the Whatsapp group to stay connected and
interactive. At a time when many initiatives have folded, WIN has persisted in
publishing this newsletter, which continues to raise the bar on quality of
writing and content.
Here is another rich read which will inspire you to continue writing.
The year might be grim, but it is time for our creativity to grow and for each
of us to "live like an artist", as David Mungoshi reminds us.
REMEMBERING DAVID MUNGOSHI
With Rumbi Katedza in 2015 at the book launch of Textures, Harare
From left: David Mungoshi, publisher Jane Morris and Memory Chirere enjoying a chat at the book launch
With Memory Chirere (left), Emmanuel Kuyeri (standing, a WIN member) at a Writers International Network Zimbabwe (WIN) event in 2010
At the Zimbabwe Writers Association 2014 literary evening
TRIBUTES
By Beaven Tapureta
Although David Mungoshi, who died on August 29, 2020, will be remembered as an academic, columnist and writer with much of his excellence in poetry attracting the spotlight, very few knew about the accomplished editor he also was.
Any person who has been following Zimbabwean literary output of the past five or four years would agree that a large number of books passed through David Mungoshi’s hands.
In editing circles, there is what they call correspondence, that is,
the bulk of the letters and telephone chats exchanged between author and
editor. It has become an exciting adventure for some big publishers to dig up
from the archives and legally publish
collections of these author-editor/publisher correspondences. In the letters or
the chats, there is a great lot to learn about the writers’ and editors’
attitudes, biases, etc.
Modern technology may seem to have improved communication but it is
sad that much goes un-recorded over a telephone call between author and
publisher. A record of comments and assessments by an editor are a helpful
future reference point for the author while the author’s reactions or responses
could help as a valuable source of literary information.
In Zimbabwe, when the communication between the late great writer
Dambudzo Marechera and his editors/publishers found their way into the public
arena via biography, new perceptions of Marechera’s character were inspired.
Who then was David Mungoshi the editor? Surely, lessons abound from
his editorial activities when he was often engaged by Zimbabwean writers and
publishers.
In different interviews, the writers he worked with on certain
projects harbor diverse memories of the book doctor whose name appeared in various books prefixed with
‘edited by’ or ‘foreword by’ or in the acknowledgements.
Words like ‘humble’, ‘perfectionist’, ‘excellent’, echo in the
tributes to David Mungoshi.
Writer Tsitsi Nomsa Ngwenya has fond memories of the relationship he had with
David Mungoshi as they worked on her new novel Portrait of Emlanjeni. She says
wide reading is one of the habits she learnt from him.
“I remember David Mungoshi as someone who respected other people.
Rich, poor, young and old. He took time to listen and understand and encourage
others. 'Waiting is a form of death' is a phrase by him I use till today. He
was an excellent editor who read widely. Whilst editing my work, he would
challenge me to read such and such a book so that I may possibly understand his
corrections. I did that and never regretted,” said Ngwenya.
As they worked together, David Mungoshi enlightened Ngwenya; she
realized editing is more than correcting grammatical errors but it involves
understanding places, cultures, histories, and other contextual matter.
Ngwenya’s new novel Portrait of Emlanjeni
draws its background from the Ndebele culture and Mungoshi’s articulate
knowledge about culture amazed her.
“He edited my coming novel Portrait
of Emlanjeni. I love the book even more now. The story is culturally
located in a Ndebele community but David Mungoshi could also correct some
cultural aspects I made mistakes in. I was greatly inspired by his humility and
easy going nature,” Ngwenya said.
She says in 2017 her collection of short stories titled The Fifty Rand Note was published but it
had many errors. The following year, Mungoshi offered to edit the book and he
did it so well.
Publisher Jane Morris (AmaBooks) echoed Ngwenya’s acknowledgement of David
Mungoshi’s humble nature. Apart from meeting him at the book fairs in Harare,
one of the moments Jane remembers meeting the humble man is the day when
Amabooks officially launched Togara Muzanenhamo’s Textures in Harare in 2015.
“It was a shock and very sad to hear of David’s death last week. He
was always very supportive and encouraging and impressed as a humble man,” said
Jane.
The friendship between David Mungoshi and other writers may also have
been enhanced by the academia to which they belonged as lecturers. Yet beyond
lecturing, they worked together in certain literary projects through which they
complemented each other’s skills.
Memory Chirere, a fellow university lecturer, writer, editor said, “He
was a perfectionist. He would worry until he found the most appropriate word
for any item.”
If one believes that God sends ambassadors in our lives to help us
move through certain phases, then David Mungoshi was one such ambassador whose
literary footmarks will influence the new writers.
In 2017, he was engaged as editor by South Africa-based Zimbabwean
poet Catherine Magodo Mutukwa for her poetry collection titled Rendition of the Soul.
Her experience with David Mungoshi made her understand there are
people who give their expertise voluntarily like passionate mentors. These are
‘the life teachers’ appearing at certain stages in our careers and Magodo
thinks her 2017 editor changed something in the way she writes.
“There are always those kinds of 'special people' who for a brief
moment become part of your life and they make an impact and then sadly, they
exit quietly. David, (here I pause...)
was one such person. He took me under his wings and he taught me a lot. I
remember, almost every time when I posted a poem on Facebook, his message tone
would sound on my phone with what he termed 'constructive criticism', and his
expert message meant to do me no harm but to grow me... "Cathy, don't
write banal words like 'thy', they take away the reflective aspect of the
poem..." His voice (with a hint of
humour) would boom from the other end of the line. It will take a while to
get used to the fact that I won't be able to send him my work for 'approval' or
just to bounce off ideas. Those who've had the opportunity to know David will
testify that indeed he was a talented man generous with his expertise; there
was never a dull moment with this great guy and I feel blessed to have known him,”
Magodo said.
The same year of 2017, David Mungoshi was also approached by writer
Shepherd Mutamba to edit and do a Foreword for his second edition of Tuku Backstage, a biography of the late
Dr Oliver Mtukudzi who undoubtedly was an international musical figure. The
book was published in 2018. Mutamba must have discovered the great editor and
the voice reverberating in the Foreword that he decided to surrender the whole
of his next project – a poetry collection titled Dobhadobha: A Book Without Margins – to the book doctor for
editing.
“"David Mungoshi edited two of my books, a biography Tuku Backstage (second edition 2018) and
a picture-poetry anthology Dobhadobha: A
Book Without Margins (2019). I don’t search far and wide for the apt
description of Mungoshi's work as an editor. David Mungoshi was to editing what
George 'Mastermind' Shaya was to football. He had extraordinary skills that
just a few editors could match. He turned unnecessarily complicated manuscripts
into simply sophisticated manuscripts and to me that’s the hallmark of
editing,'" said Shepherd Mutamba.
And indeed, Tuku Backstage
(Second Edition) speaks of a wonderful hand of a careful editor.
The seasons may come and go but the gap David Mungoshi has left in the
local writing community will be hard to fill. His life, to use his own words in
his poem ‘The Green Door’ (in his poetry collection ‘Live Like An Artist’), is “such a story you will not find/ In these
days of money and pretence.”
A Season of Grief
By Catherine Magodo
Mutukwa
The late David
Mungoshi
Tell me,
What it is like, on
the other side…
Where the stream of
consciousness
Ceases to flow and
silence ensues
Where thoughts of
shared joy and sorrow,
Song and verse are
carefully tucked away in memory
Burying it all in a
sandy heap
Where ‘nothing’ reigns
& everything is forgotten
And you
Into ‘The Fading Sun’
you disappear
Leaving behind a trail
of blank verse, whispering…
‘I Don’t Know Why She
Weeps’
And I, torn,
Turn to look at the
weeping Willow
‘A Moment of Clarity’
I realize, I too, like
it, am spent and bent in deep mournfulness
Teacher, ah Teacher,
Who will teach me now
More about the
sonnets, ballads and rhyme with such passion?
God forbid, if I
should
‘Begin To Forget’
All the things you did
that exalt you
Now that your evening
has come
And you have gone away
to become one with the night
I know, the
midnight-hour still listens for the sound of your writing
Unaware that the
master has packed away his notepad and pen,
Leaving behind some
poems half-written,
‘2am’s are for the
Poets obsessed with unmatched creativity!’
You used to say
And that ‘sometimes
few words are enough.’
Memories From Mutare
By Simbarashe Kavenga
David Mungoshi's death came as a surprise hard blow to us his fellow artists. The humble giant took his rest on the night of August 29. He followed his brother Charles who took his rest last year in March. David played his part in the arts field leaving so many fruits that people in the world and Zimbabwe in particular will enjoy for many years to come.
I first met Mr David Mungoshi in 2010 at the NAMA awards when his book
The Fading Sun was judged as the
best. Since then, we would meet at the book fairs and literary workshops. He
was a man full of jokes and also a father-like figure to us the younger
generation of writers.
My friend Pension Madzikangawa, a published author and a resident of
Mutare described Mungoshi as an icon in the literary industry.
“Mr. Mungoshi was not an ordinary author; he was an author par
excellence. An author cut from the finest cloth of literally arts. He was one
of the leading lights in the industry, one of the torchbearers. An icon whom
many looked up to for guidance and counselling. He fought a good fight and left
an indelible mark in the industry. Although he has passed on, what he penned
will forever live among us. His legacy will surely live on. His pen will
continue to inspire us. May his soul rest in peace,” he said.
That's how inspirational Mr Mungoshi David was to many fellow writers.
As he takes his deserved rest we salute this great writer born from a family of
artists. As parting shot, I say:
You came blessed in poetic
verses
To the poor world
And you enriched it with your
words full of wisdom.
A rest you deserve for great man
taste not death.
Fambai zvakanaka Manhize.
(Kuna David Mungoshi)
Na Tinashe Muchuri
Asi kana wakambodhumana naChigango Musandireve, iye aikanga asingadi
kurebhwa kahi! Kana kuti wakambomenya nzungu naye David kanhi, kana
wakambovhunzwa kuti tipewo pawakawana zano nefungwa yawanyora apa, kana
kumbodamwa padivi uchivudzwa masvisvinire emahwi eChirungu, kana kuyeuchidzwa
tsika nomugariro waVaShona, kana waMaNdebele, chokwadi unganyora zvinozadza
pasi, nenyika igonyemwerera.
Kuzoti kana wakambofamba rwendo naDavid, kana kutsikinya migwagwa
yedhorobha naDavid muchitaura zveunyorwa, zvenziyo, nezvekudetemba, haiwavo,
haungashayi izwi rimwe zvaro rinodzvova zvine mutinhimira uzere sungawirirano
pasi rigoziva, wakagona kugoka zano, wakagona chose kuita hwenherera panopangwa
mwana wamambo. Tingatokutivozve makorokoto. Watizivisa kuti David aiva munyori
anodzamisa fungwa achinonota zviito zvisina maturo mumana nhaiwe zvako iwe.
David aituka zvekukakatirana zvamarudzi izvi achiKhuluma, kutaura and talk.
David herevo, aive munyoro asi achifira kureva. Aisachengeta nhuna mumoyo. Aidzidura
uripo kwete zvekuzokuseura gotsi wati pote. Sakei aive Chigango Musandirevezve,
ungakanga ukasahwikwa kuti wakanga here,
kunhuhwirira kana rutsvo rwezvakangwa rwosvasvanhira miro dzavavakidzani
nevapfuurinanzira!
Chiregai ndisiye pano asi regai nditi taikurukura mukati mehusiku
kwemaawa nemaawa achigadzira zvinyogwa zvavadzidzi, zvinyogwa zvavanyori.
Nhasi, mhute yatiza zuva. Asi kusiyana nemhute, David akasiya vana vake
vachagara vachikurukura nesu, nendudzi dzinouya. Zvinyogwa zvaakasiya hazvisi
chingamu kwete, kana matobhwe anopera panotapira, ishugamutape, kutanga
nekupera zvichisekenyedza pfungwa.
ZIBF 2020
Theme: “Book Industry: The Dynamics Within”
Flashback: Bryon Rheam, author of ‘This September Sun’,
enjoying the 2016 ZIBF Indaba with other delegates
We give
this statement on behalf of the Zimbabwe International Book
Fair Association (ZIBFA) General Council and the
Executive Board. As to our indication earlier in March,
when Zimbabwe went in the first COVID - 19 lockdown, that this
year was bound to be challenging for our
2020 scheduled activities envisaged by the pandemic global trends, we
regret that because of the dearly COVID - 19 pandemic which is on the
upward trend we are unable to hold the usual annual Provincial Book Fairs, the
Main Book Fair (Harare) and the Indaba Conference.
We hold
paramount our valued multivarious stakeholders, partners, learners
and the general public, hence, our decision to support the strategy in
mitigating the spread of the pandemic.
We however, resolved to
continue work safely from behind the scenes to put together a journal
on the previous ZIBF Indaba conference proceedings and also to anchor various
symposiums online to tackle issues pertinent to the book industry by
November 2020. We take this too, as an opportunity to rethink and reflect
on the path we have to take in the fast changing times.
ZIBF wishes you
good health.
Yours sincerely
Mr Memory Chirere
Executive Board
Chair, The Zimbabwe International Book Fair Association
For more information, contact: events@zibfa.org.zw
Fairfield Press of Middlesbrough is pleased to be reissuing Footprints In The Mists Of Time, a novel by Zimbabwean-British author, Spiwe N. Mahachi-Harper. This is a story of migration, heritage, identity and belonging, a story that begins at the turn of the 20th century as four young men set out from their village in the British protectorate of Nyasaland (now the Republic of Malawi) to seek their fortunes in the mines of South Africa. However, a stopover in the British Crown Colony of Southern Rhodesia (now the Republic of Zimbabwe) becomes settlement, and the arduous struggle to settle in a new land begins. Footprints In The Mists Of Time makes compelling reading, not least because unlike most other literature about migration and identity, it focuses on the uprooting and transplanting of one African culture into the space of another.
"This is going to be an important novel for Zimbabwean
literature. Zimbabwean fiction rarely puts the migrant and his offspring at the
centre of the narrative. But here is a novel written from their point of
view."- Memory Chirere, The Herald, 2013
Footprints In The Mists Of Time was first
published in 2013 by Abba Press, to critical acclaim, and was nominated for
awards in both the UK and Zimbabwe. Available right now in both print and
digital editions at the stores listed below, and many others. A limited pile of
copies is available to reviewers and journalists on request. Orders from
libraries and independent bookstores are also welcome.
For readers in the UK, one way of obtaining and
sharing a copy for free is to ask for Footprints In The Mists Of Time at
your local library!
Contact: prime@fairfieldpress.uk
OPPORTUNITY FOR WRITERS
THE SILLERMAN FIRST BOOK PRIZE FOR AFRICAN
POETRY
The African Poetry Book
Fund Editorial Board, including Kwame Dawes, Chris Abani, Matthew Shenoda, John
Keene, Gabeba Baderoon, Bernardine Evaristo, Phillippa Yaa de Villiers, and
Aracelis Girmay will judge.
A winner will be
announced in early January, with notifications sent shortly thereafter.
An “African writer” is
taken to mean someone who was born in Africa, who is a national or resident of
an African country, or whose parents are African.
Only poetry submissions
in English can be considered. Work translated from another language to English
is accepted, but a percentage of the prize will be awarded to the translator.
No past or present paid
employees of the University of Nebraska Press or Amalion Press, or current
faculty, students, or employees at the University of Nebraska, are eligible for
the prizes.
Poetry manuscripts
should be at least 50 pages long.
The author’s name
should not appear on the manuscript. All entries will be read anonymously.
Please include a cover page listing only the title of the manuscript
(not the author’s name, address, telephone number, or email address). An
acknowledgements page listing the publication history of individual poems may
be included, if desired. No application forms are necessary. Eligible
writers may submit more than one manuscript.
While we have no
specific formatting rules, we suggest sending your manuscript in Times New
Roman or Arial, 12 point font, single-spaced. We also prefer one poem per
page, meaning a new poem does not begin on the same page on which another ends.
The Sillerman First
Book Prize for African Poets accepts electronic submissions ONLY.
THE YOUTH PERSPECTIVE
With
The
world is experiencing a pandemic, the dreaded COVID-19. Some parts of the world
are still under lockdown. However, there are many others who have recovered and
are slowly returning to their normal lifestyles. While some families are still
enduring the economic effects of COVID-19,
we cannot forget those who are unable to speak for themselves. There
remains one question, how are the vulnerable coping in abusive families?
There are a lot of
factors at play during COVID-19 restrictions. More and more parents have to do
home-school and/or work from home at the
same time. This kind of activity can take a toll on anyone’s stress levels,
especially those parents who have a
tendency to take out their stress on their children without realizing what
they’re doing. This happens and they stop
only when they see their child crying out of sadness for their actions.
Then we have those parents who are actively abusing their children, taking
advantage of the situation that the children cannot go outdoors as much as anyone
used to in the past.
All over the world
adults and children have been quarantined for months with people who hurt them.
So who is the most vulnerable in the homes of abusive families? Stress, the disruption of social and
protective networks, loss of income and decreased access to services
all can intensify the risk of violence for women and children everywhere.
In many countries, where
people are encouraged or required to stay at home, the risk of intimate partner
violence is likely to increase. In addition, access to sexual and reproductive
health services will likely become more limited. Moreso, services such as
hotlines, crisis centres, shelters, legal aid, and protection services may also
be reduced. This has made it difficult for some women and children to access
the few sources of help that would usually be available.
In China, a
Beijing-based NGO dedicated to combating violence against women and to fight
for equality has seen a flood in calls to its help line since early February.
This happened when the government locked down cities in Hubei Province, then
the outbreak’s epicentre.
Stigma related to COVID-19
has left some children more vulnerable to violence and psychosocial distress.
At the same time, control measures that do not account for the gender-specific
needs and vulnerabilities of women and girls may also increase their risk of
sexual exploitation, abuse and child marriage. Recent subjective evidence from
China, for instance, points to a significant rise in cases of domestic violence
against women and girls.
The youngest children
are the most vulnerable to maltreatment (more than one-quarter of victims are
below age three (US Department of Health and Human Services 2018).
While for many families
the situation has meant isolation and monotony, for those who live with their
abusers it has been a nightmare. Under COVID-19 social-distancing protocols,
the worst-case scenario for people who live with an abuser has more or less
materialized. Social workers, lawyers, and advocates have had to rapidly adjust
their services in order to help domestic and child abuse victims, those trapped
inside their homes with their abusers.
COVID-19 is changing
family dynamics in ways that threaten to put already vulnerable children at
increased risk of abuse and neglect. Worldwide, child welfare
organizations warn that the COVID-19 lockdown measures will increase cases of
child maltreatment (e.g. UNICEF 2020), which includes the sexual, physical, and
emotional abuse and neglect of any person under 18 years old.
According to UNICEF
there is a need for governments to ensure the safety and wellbeing of children
amidst the intensifying socio-economic fallout from the disease. The UN
children’s agency, together with its partners at the Alliance for Child
Protection in Humanitarian Action, has released a set of guidance to support authorities and organizations involved
in the response.
In a matter of months, COVID-19
has turned over the lives of children and families across the globe. When
services are restricted and we are all being advised to stay home, what will
happen to those who have no access to anything of the outside world?
Those who are living in
remote villages? We have all heard those stories especially from young girls,
that uncle so and so would have touched her inappropriately, yet some members
of the family would have turned a blind eye out of fear that the family name
would be disgraced.
Now during a global
pandemic, if countries are experiencing a rise in domestic violence, what will
become of Africa?
South Africa has been on
state lockdown since midnight of 26 March 2020. This is due to the government’s attempt to
curb the spread of the coronavirus and legally mandate South Africans to “stay
home”. Yet, for some women and children, home is a dangerous place. Domestic
violence is increasing across the globe, South Africa being no exception.
In September 2019, the nation united, protesting violence
against women and children. Before the COVID-19 pandemic, domestic violence in
South Africa was already alarmingly prevalent. In the first week of the lockdown,
Police Minister Bheki Cele had stated on multiple reports that police had received
more than 87,000 gender-based complaints. Forcing perpetrators
and survivors to stay in the same physical confines has caused incidents of
domestic violence and abuse to increase in number, frequency and intensity.
As someone who is part
of the youth community, it more than worries me when I witness stories of
sexual abuse, verbal, emotional or any form of physical harassment in the
household especially among minors at the hands of their own parents. The elders
are the ones who are supposed to be protecting the youth and guiding them into
better lives for themselves yet some are the ones who hurt the youth in the
end. It is sickening to hear stories of father’s raping their children or
mothers hitting their children as a form of discipline. Yes, while it is
important to discipline children, there are other ways to do that but some
parents are taking things too far!
By Edwin Msipa aka Black Mampara
The spirit of the early writers is being rekindled today on social media by many male and female poets of today but the rising educationist, banker and lawyer, poet Muzana Tamutswa's prowess is second to none. How he balances this act of writing and his ever busy schedule in the courts of justice is anybody's wonder!
"I have shelved the
writing of novels and thus have taken up poetry. I work during the day and
write at night," he said. The evergreen Tamutswa sends in one or two
well-thought out Shona poems on a daily basis on various Writers Whatsapp Groups with Writers
International Network Zimbabwe (WINZIM) and Essential Books Publishing Company
being his first port of calls.
Talking of the social media exploits, a Facebook page called 263
Nhetembo was initiated in 2014 and had 17 lively poets who were led by
motivational speaker cum poet Rabison Shumba. The page is also credited as one
of the most successful Shona (nhetembo) poetry projects to be done on Facebook.
It succeeded in publishing an anthology, Dzinonyandura:
Svinga Renduri in December 2014, which was nominated at the National Arts
Merit Awards as one of the best fiction produced among the 2015 works. It
became a Shona Advanced Level Nhetembo Setbook for the period 2016-2017.
The trend has become common. Books are now being churned out in that
manner: Meeting publishers and writers on social media and getting published
without even meeting physically. Social media is reducing the costs of
travelling to publishers.
Just like Hamutyinei who went on to write a lot of poems, plays and
novels that still stand out among those that make the face of Shona literature
in Zimbabwe, Muzana's works promise to continue from where Hamutyinei left.
Just like Ndabezinhle Sigogo who is regarded as the godfather and the
face of Ndebele literature, Tamutswa is following footsteps in writing about
what he sees in his people. According to Pathisa Nyathi, Sigogo, who frequented
shebeens to learn a lot about his people in Bulawayo lived during the colonial
era where the colour bar was the order of the day. Even though Tamutswa may not
have met Hamutyinei in person, the writer seems to be happy to have read great
classical and timeless masterpieces which are inspiring him and many writers of
today.
Sadly, studying Shona and Ndebele Literature at Ordinary and Advanced
Levels in Zimbabwe is no longer compulsory, making it difficult for indigenous
language books to be taken seriously at a time the nation is grappling to preserve
the official fifteen languages.
Born in Buhera in 1977 and grew
up as a single orphan after his beloved father passed on in the mid- 80s,
Muzana was privileged to have an informed mother.
"She encouraged me to write as I usually read her my
stories," he said.
Muzana also hails the exploits of Mr Muridzi, his Grade 6 teacher at
St Michaels Mambo Primary School in Buhera for identifying his writing
potential.
"I was very good in my mother language, Chishona. I wrote two
novel manuscripts 'Zingizi Gonya' and 'Musiiwa'!"
He said, "I write mostly Shona poems which tackle various themes.
They convey the spirit of African Ubuntu and are aimed at titillating the
modern generation so that they learn
our values."
And true to his words, his
poems mirror what an upright African society should be like.
"I convey tenets of African Ubuntu, teaching the old time
concepts of hard work, bravery and being good to one's neighbour."
In one of his masterpieces, "Wedzerai moto", posted in the
WINZIM WhatsApp group, Muzana's unwavering voice, like an injection, releases
its medicine into the readers' hearts:
Musakanganwa vasina meno
Imi mungava nawo ose makumi
matatu nemaviri
Musina kana rimwe rine mhango
…
Asi yeukai vamwe
Kunyanya pachisevo!
In his other recent piece, Muzana makes a clarion call for the nation
to respect the fallen and living heroes(heroines) as well as to work hard in
all sectors of the economy for Zimbabwe to grow:
Vakamhanya nacho vana Mukoma
Tongo (Josiah Magama Tongogara)
Naivo vana Sisi Teurayi (Joyce
Mujuru
…
Nhasi Zimbabwe iri kutsvaka
mhare
Mhare mune zvekurima
…
MABHUKU EDU/OUR BOOKS
With
Q: I have noticed that you're a multi-talented
young woman in the arts industry. Besides writing, what else do you do in arts?
A: Besides writing, I also do music, that
is, writing songs and singing. I also play the guitar instrument. I am a young actress in dramas, movies, etc.
Q: How many songs have you recorded so far?
A: I have recorded three singles & the
recent one is entitled ' Life'. I have got an album coming in a couple of
weeks.
Q: Great. You mentioned that you're an
actress. Tell us, in which dramas or movies have you appeared?
A: We are still working on a series of
dramas which we hope to finish soon. I have taken part in a video on
Chiranganyika's track named “Kudza Baba Naamai.”
Q: Well done. As a lower six student how do
you balance your school work and art?
A: Actually, I always occupy myself during
my free time. Every free time I am given I spare it for the Industry. As for
school work I go for it in class and evening time, however, I got a time table
so as to manage it both wisely.
Q: Wonderful. At your school, is it known
that you are an author, musician and an actress? If so, how do you feel to be
known by all the students?
A: Yes, it's known. I even submit some of my
stuff to my school headmaster and he quite enjoyed what I wrote. Definitely,
about how I feel now, I can describe it
this way, it's really encouraging to see
that the knowledge in my works is benefitting other people.
Q: How many books have you written?
A: So far I have four finished ones, and the
other two are still incomplete.
Q: Good. May you tell us the titles of your
books? Where are they found?
A: My books are Sister Holy, Mambokadzi Zvanyadza, Munhu WaMwari and Twin Brothers. Also Zvichazodii & Complicated
to be finished soon. I am currently
processing how to put them on sale but I got one for free.
Q: Do you publish with publishing companies
or you're an online author?
A: I am flexible, I use both online
platforms and publishing companies. Publishing and visibility is still a
challenge.
Q: May you name any three young and three
elderly Zimbabwean writers you admire and your favourite books which they
wrote?
A: Among the young writers, I admire
Chidhuza Rumbidzai who wrote Chakaipa
Hachina Pundutso, she is the only one I can mention as of now. As for the
elders, George Mujajati and his book The Sun Will Raise Again. Also Shimmer
Chinodya and The Harvest of Thorns. I also like the book Sajeni Chimedza.
Q: That is great. What about your favorite
musicians and actors?
A: My favorite musicians are Minister
Mahendere, Silvestor Chizanga, not forgetting Christopher Martin and Madam Boss
in the acting world.
Q: Awesome. Any words of wisdom to fellow
young Zimbabwean writers?
A: Thank you. As a young writer never you
feel like leaving it just because you're young or anything like that. You can
do it, never let it die, it's never too late. You're the right person as long
as you got the right mind to do good.
Q: Thank you for your time Kudzaishe. I wish
you the best in the world of writing.
A: Thank
you.
With
Sasa
and Fafa were excited to be going out for shopping with their mother after
three long weeks behind closed doors, since the lockdown had begun. Everyone
everywhere was frightened about the terrible coronavirus disease that had
killed thousands of people in many places around the world.
Now government
had allowed people to go out of their homes for a few hours to buy essential
things but with a strict warning to always sanitize and adhere to the strict
social distancing regulations.
“Mother says that
we’re going out for shopping today!” Sasa said excitedly to her younger sister.
“I am excited
about it girl!” Fafa exclaimed in agreement, her face beaming as the rising
sun. “I am excited just as I was on that day when we travelled from Harare to
Mutare on the Big Yellow Train.”
“Oh, yes,” Sasa
said, “That was a pleasant journey by train.”
In a short time
the two girls and their mother, with their face masks on, made their way to
Katanga shops, a few hundred metres away from Ngoni suburb. On the way, they
saw several people sheepishly coming out of their houses, into the dusty
streets littered with dry, yellow and brown tree leaves and papers. It all felt
like the end of a long war.
The two girls
were surprised to find the long stretch of the tarred but much-potholed road to
the shops almost empty, with only one, ancient, blue majecha truck droning noisily as it trundled lonely, like a lost,
horse-drawn wagon in a desert.
At last they got
to the shops and saw a long and winding queue of dozens of shoppers standing
one metre away from each other and all wearing face masks. Above the wide
entrance to the big, redbrick shop with big, red letters that read AK
SUPERMARKET stood three security guards with thick, black baton sticks and two
men, one with a pistol-like thermometer, checking people’s body temperature and
another one spraying liquid sanitizer on the palms before they were allowed in.
The queue stretched a long way to the back of the shop, like a multi-coloured
snake. The two sisters and their mother immediately joined the queue as it
moved sluggishly towards the entrance.
At last they
reached the front and just as they were about to be sanitized, a man behind
them sporting a sky-blue work suit with reflectors and a matching face mask,
sneezed, fell to the ground and his whole body started convulsing.
“He has got
coronavirus!” shouted a young woman wearing a pair of black skin jeans, tearing
herself from the queue.
“Yes, this man
has got coronavirus!” one man yelled and ran into the shop. Dozens of people
followed him. The guards tried to block the people with a wall of the many red
trolleys but the people jumped over them and filled the shop, kicking the hand
washing buckets and spilling the water inside. Some people fell to the ground.
Everywhere people were running, some trying to get out of the shop, knocking
into each other and screaming “Mhaiwe-e
kanhi coronavirus yauya.”
“It’s clear, from
the way that man sneezed and fell that he has got COVID-19 disease,” one of the
guards at the gate said, like an apostolic preacher preaching at a roadside masowe but by now nobody seemed to pay
attention to him.
Finally the shop
manager and some eight men, riot police and armed soldiers, as well as nurses
wearing personal protective equipment that included glass shields, appeared
from outside the shop and started ordering the people to practise social
distance and not gather in huge numbers like ants.
“Oh it’s
Garikai,” the manager exclaimed on seeing the man whose legs were jerking like
the tail of a lizard that has been cut.
“Garikai does not
have the coronavirus at all. He suffers from epilepsy and does this every now
and again. Please let us disperse and give him some fresh air as the nurses
attend to him.”
Slowly the
situation at the shop started returning to normal. Sasa, Fafa and their mother
bought what they wanted and quickly went back home.
NGATINYOREYI
Phillip Kusasa ari panhondo dzeMukamba uyo unozivikanwa neChirumbi kuti mahogany tree ari pasango rePaiyapo Arts Centre, Bangira Village kwaMutape Musikavanhu
Zvakadero, vanyori tine basa guru. Nhasi ndaringa-ringa ndichitarisa
matunhu, ndichitsvaka mabasa anoitwa navanyori mundima yekuchengetedza tsika
namagariro. Vanyori vachengetedzi vehunhu neumunhu kuburikidza nekunyora
maringe netsika dzedu savanhu. Mukuringa-ringa mumatunhu ndakasangana nevanduri
venduri vari kuita nabasa anofadza chose ayo atichataura nezvawo muchikamu
chino.
Zvinozivikanwa kuti muripo webasa ravanduri venduri mudiki chose uyo
wopamhidzirwa kudzikiswa nekuda kwenhusvuri dzinoba basa ravadavadi ava pasina
cheuviri chinokohewa nedikita ravo. Senzira yekuwana zvingavaponesa ivo
nenharaunda dzavo vanduri venduri ava vari kuita mabasa ekuchengetedza nharaunda
dzavo.
Linda Gabriel uyo anozivikanwa nezita rekundura nduri rekuti Poetic
Angel anoti iye akafunga zvekutaraukira kunzvimbo yekwaZvimba uko akawana ndima
yekurima achishandisa nzira dzisinganyanyoshandisi mafotereza nemishonga
yekuuraya udyi nezvirwere inonzi permaculture.
Achitaura nemunyori uno nepaWhatsApp Gabriel akati,
"Ndakaona iri nzira iri nyore mukuti vanhu havazoshandisa mari
yakawanda pakutenga mishonga nefotereza zvekushandisa pakurima."
Gabriel akaenderera achiti mhando iyi inoumbiridza utano hweivhu izvo
zvinoita kuti hutano hweivhu huvandudzike nekuchengetedzeka.
“Mafotereza nemishonga yekuuraya masoro neudyi yakawanda yacho
inobetsera pakuparadza utano hweivhu, zvipukanana nekudyidzana pamwe
nekugarisana kwevanhu, zvipukanana nenharaunda, nekudaro nzira yekurima
yepermaculture, inzira inoshandisa zvinhu zviri munharaunda zvatinowana
pamusiwo yedu zvakaita semupfudze wemombe kana manyowa ekombositi uyewo kurima
zvirimwa nenzira inodzinga udyi pasina kushandisa mishonga,”akadero Gabriel.
Nekune rumwe rutivi umwe munduri wenduri anogara pamwe nokushandira
kwaMazvihwa kudunhu reZvishavane, Emmanuel Mhike uyo anonyanyozivikanwa
nerekuti Manu wekwaFish, uko anoita mabhindauko ekudzoreredza masango
nekuvakurudza nharaunda akati,
“Ndiri kushanda nemadancers,
Mazvihwa Traditional dancers neRambote Imwa Protection committee kuedza
kudzoredzera sango redu rinoyera rekwaMazvihwa rinonzi 'Rambotemwa.'”
Mhike akati akatangidza kuita basa iri kubva mugore 2015 achitsigirwa nesangano rakazvimirira
roga reMuonde Trust.
Akaendererawo achiti, “MuCovid lockdown umu tanyatsowana nguva
yekudiridza miti yedu nekuyivikira uye tava ne500 miti yemusango yatobata apo
ndichishanda zvakare namadzimai paMuonde Agro-ecological center kuedza kudzosa
masango neyatinoti Analog Forestry.”
Akatsanangurawo achiti, “Madzimai anosima miti yakataraukana nechiero
chemamita matanhatu (6m) vorima nyemba pakati kana dzimwewo mbesa dzinouyisa
kudya kuvanhu nekuivhu, yatinoiti Double
nourishment.”
Pamusoro peizvi Mhike anoti anoshanda pamwe nevechidiki venharaunda
yeko vanodaidzwa kunzi "MaWard Youth officers in Arts, Youths and
Culture" kuMuonde Trust kuedza kupedza dambudziko rekukorokoza kusina
kurongeka iko kwekare kuZvishavane.
"Iyi inzira yekupedza makakatanwa ane mhirizhonga mukati
ekutemana nemanhemba kwezvikwata zvamakorokoza nekudaro tine nzvimbo
dzakarongeka uko makorokoza ane mvumo yekuita mabasa awo nekuti takati
ngatisiyei tsika ye"topo siye, topo siye.'
Kubva mumana raBangira kuChikore uko kwaMutape Musikavanhu kune dhodha
riri kuita mishando yomene yekuvangarira kuchengetedza nharaunda uko ari kuita
basa rekusima mikamba iya inonzi "mahogany". Dhodha iri rinonzi
Phillip Kusasa anove mudzidzi paMafumhe Secondary School uye ari mutungari
wePaiyapo Arts Centre iyo inokotsvera hurongwa hweNdau Festival of the Arts
(NDAFA) uhwo hune ngari yekuchengetedza mitambe yeChiNdau pamwepo netsika
namagarire aVaNdau.
“Pari zvino ndiri kusime mimbiti yemahogany yatinode kuti ive musango
redu rePaiyapo uye ndode kuone kuti zvingatisvitse papi.”
Akawedzera achiti vanode kuona kuti Paiyapo Arts Centre ive ndiyo
nheyo nemuzinda weruzivo rwetsika namagariro aVaNdau.
Iro gore rino Paiyapo Arts Centre vakawane mari kubva kuCulture Fund
of Zimbabwe yekuchengetedza mutambo weMadanda uyo unonyanye kutambwa nemadzimai
ayo anosutswa nemweya yenjuzu.
Izvi zvose zviri kuitwa senzira yavanduri venduri yekuchengetedza
tsika namagariro munova ndimo munobva zvinyorwa izvo zvinozodzorerwa kuvanhu
senzira yamabhuku, mafirimu namabuku akawanda chose.
Gabriel anoti pane kungotaura nezvematambudziko emadzimai muzvinyorwa
zvake iye zvino zvavandudzika sezvo ave kutaura nezvemabhindauko anopedza
matambudziko aya kuburikidza nekurima kwaari kuita uko anoti kunorapa,
kusimbisa muviri pamwe nekupa hupfumi uhwo hunoita kuti agozowana kunyora nduri
akasungunuka asingatyi nzara.
“Pandinoona mbesanwa dzangu dzichimera, ndichidzisakurira dzichikura,
kusvika pakukohwa ndinenge ndichiona munyori ari kuumba rungano rwake kubva
mukurima, achitura zano, kuripfaura-pfaura mapazi aya anoritadzisa kuti rive
zano rakanaka sekupepetwa kunoitwa chinyorwa kusvika chasvika pakuti chaibva
kuti chichiverengwa navanhu.”
Mhike anotsinhirawo achiti, “Sevanhu vari munguva yeCOVID-19 iyi inoda
vanhu vasingaperegwi nekufunga zvekuita uye kuti tishandise hutesve hwekufunga
zvakadzama savanyori kufunga mazano ezvese kurarama nekuchengetedza nharaunda.”
Izvi ndizvo zvimwe zvemhindu nenzira dzinoshandiswa nevadavadi kuedza
kuchengetedza nharaunda nedzira dzezviito zvinonyora nyaya muhana idzo dzinonongedzereka.
Musakanganwa kuzvichengetedza kubva kuchirwere cheCOVID-19. Pfekai
chiseketo nemwero wakafanira nemazvo, uye chengetedzai mukaha wemita imwe
pakati penyu pamwe nekugesa nemvura inomamya nesipo kwemasekonzi makumi maviri
kana kuzora muti unodzivirira kupararira kwehutachiona hweCOVID-19.
Dzamara tasangana zvekare muchikamu chinotevera. Zvichengetedzei pamwe
nekuchengetedza vamwe. Tienderere nekunyora tiri vatano uye tichichengetedza
utano hwevaverengi vedu.
THANK YOU FOR
READING OUR NEWSLETTER.
The WIN Literary Newsletter is edited by
the WIN Editorial Team and published on the blog monthly or bi-monthly by
Writers International Network Zimbabwe (WIN). For more information, contact us:
winzimbabwe@gmail.com
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